Porch Swingin' Part 2

Chapter 1: (01:05) Lesson Introduction
Welcome back to the Phase 2 Fingerstyle Guitar Series with Steve Eulberg! In the first lesson of this series, Steve taught you the first section of an original piece called "Porch Swingin'." In the scenes that follow, he will explain how to play the remainder of this piece.

A recording of this song can be found on Steve's album entitled A Piece of It All. Click here to purchase this album from Steve's website.

Chapter 2: (11:52) Second Half of Porch Swingin'Review of A Section

It's probably been awhile since you've played the first section of "Porch Swingin'." If necessary, review the first half of the piece at this time. You may want to watch the first lesson again if there is a section that you are still struggling with. Make sure that you can play through the first half comfortably before you tackle the new section that Steve teaches in this lesson.

Chord Progression for the B Section

The B section primarily centers around the V7 chord in E major, B7. Countless compositions modulate to the dominant key. This compositional technique adds needed tension to a bridge or B section. Remember that the dominant chord creates tension that must eventually be resolved.

Segment 1 (Measures 1-2)

This section uses many barre chord voicings based on the visual shape of the "open" E7 chord. The progression begins with the V7 chord in the key of E major, B7. This chord walks down chromatically from B7 to A7. The Bb7 chord functions as a chromatic passing chord between B7 and A7. The "open" E7 shape is used to play each of these chords.

In the key of E major, A7 functions as the IV7 chord. In most music, the V7 chord typically returns to I or resolves deceptively to vi (C#m). Chord progressions that feature a V7 chord that descends down to a IV7 chord have a distinct blues sound. This chord change is one of the key components that gives blues music its signature sound. The IV chord is often played as a dominant seventh voicing in the context of a major progression to give the progression an overall bluesier feel.

Watch and listen carefully at 01:47 as Steve breaks down this segment of the chord progression.

Accompaniment Rhythm

At 05:41 Steve demonstrates how to play this segment with the proper strumming rhythm. Play this segment along with him to make sure that you are playing the rhythm correctly. Tablature with the rhythm to this section can be found under the "Supplemental Content" tab. Steve often improvises the rhythms that he strums during this brief segment. Bass notes plucked by the thumb are interjected between strums of the chords. The tablature represents one possible way of strumming these chords. As long as the chords change in the correct rhythmic locations and the pulse remains constant, the strumming for each individual chord can be varied.

Strumming Technique

Notice how Steve uses his right thumb to strum each of the chords. Strumming with the fleshy pad of the thumb produces a softer, darker tone compared to a pick. When chords are strummed within a fingerstyle arrangement, the thumb is typically the preferred finger. To produce a brighter sound, Steve strums the strings by flicking them with the nails on the index, middle, and ring fingers. This technique is similar to the clawhammer, which is discussed in Jim Deeming's 11th Fingerstyle lesson.

Barre Chord Problems

If you are having problems playing the barre chords in this section, check out Matt Brown's 11th Rock lesson for some extra tips. You must apply the minimum amount of pressure necessary in order to fret the chord properly. Do not squeeze the neck with a death grip. Also, if your guitar is set up with very high action, you might experience some problems with barre chords. If this is the case, take your guitar to an experienced luthier or repair person to discuss your options.

Segment 2 (Measures 3-4)

In the next segment, the progression returns to B7. However, this time around Steve uses a second position voicing for B7 that is based on the visual shape of the "open" A7 chord. Once again, the descending B7 - Bb7 - A7 motif is repeated. All three of these chords are played using "open" A7 shaped chords. When playing these barre chords, you may find it helpful to use the middle finger as extra support. Reinforce the first finger with the middle finger to ensure that the barre is held down properly.

Steve breaks down this segment at 02:53. He loops the segment with the proper strumming rhythm at 07:20. The same strumming rhythm that was used in measures 1-2 can also be applied to this segment.

Segment 3 (Measures 5-6)

In segment 3, the progression once again returns to B7. A third voicing for B7 is introduced. Use the fingering listed below when playing this voicing.

Try this voicing along with Steve at 04:06 in the lesson video. Make sure that each of the strings are ringing clearly. You may need to arch your wrist out further when fretting this chord.

Note: Chord diagrams with proper left hand fingerings to all of the chords discussed in this lesson can be found under the "Supplemental Content" tab. Diagrams of these voicings are also written on Steve's marker board.

Embellishing Chords

The voicing for B7 listed above is embellished by C7. In this context, C7 functions as a chromatic neighbor chord to B7. C7 is not diatonic to the key of E major. Chords that are a half step above or below another chord are often used as embellishing chords in blues music. Typically, the same chord shape is used for both chords to ensure that the voice leading between them remains smooth.

You may not want to play the open second string in conjunction with the C7 chord. This B note clashes badly with the Bb note that is fretted on the third string. Mute the second string with the left hand third finger.

The B section concludes with a voicing for A7 that is commonly used in blues music. Study the fingering listed below if you are unfamiliar with this chord.

Steve plays this segment with the appropriate strumming rhythm at 08:26 in the lesson video.

B Section Play Along

Pause the lesson video and practice each individual segment along with a metronome. Then, string the sections together. When you feel ready, return to the lesson video and perform the entire B section along with Steve at 10:35. He loops the section several times.

Chapter 3: (02:16) Alternate Notes
On his marker board, Steve has written in some additional notes in red that can be added to the E7 barre chord shape. A G# note can be added to the B7 chord at the 9th fret of the second string. This note must be fretted by the pinkie finger. The inclusion of this note converts B7 into B13. In addition, a C# note can be added on the 9th fret of the first string. When this note is added, B7 becomes B9. You can either play one of these notes or both of them. When both notes are added, the chord is labeled B13. These extensions give the chord a jazzy flavor. An A note can be played on the 10th fret of the B string. This note is the b7 of the B7 chord. Consequently, the name of the chord does not change if this note is added.

At 00:47, Steve provides an example of how these notes can be used to embellish the basic B7 sound.

Chapter 4: (11:00) Crucial Lick
The lick demonstrated in this scene functions as a transition from the end of the B section back to the A section.

Measure six begins with an A7 chord played on beat one. Then, a lick derived from the E minor blues scale is played on beats 2-4. The first portion of the lick is played in third position. A position shift occurs on the final beat. Pay careful attention to the fingering that Steve uses for the lick in the lesson video.

On his marker board, Steve has written the third position notes in blue. The red notes are played in first position. Play the third position segment along with Steve at 02:48. Make sure that you keep your slurs even. Each note under the slur line must receive the EXACT same value. Do not cut the first note short by hammering on to quickly. Play the red segment with Steve at 04:50. He loops this segment several times in the proper rhythm. Then, practice the entire lick at 06:52 in the lesson video.

Alternate Lick

The lick can be played with an alternate ending. Now, the lick ends with pull-offs played in sixteenth notes on the fourth and fifth strings. Steve demonstrates this alternate ending at 08:50. Tablature to the alternate lick can also be found under the "Supplemental Content" tab.

Chapter 5: (03:59) Entire Song Play Along
Pause the lesson video and practice the entire B section along with a metronome. Also, review the A section from Lesson 1 if necessary. Once you can play through the entire song with a metronome set to about 80 beats per minute, return to the lesson video and play along with Steve in this scene. Remember that the song has an ABA form. After the lick at the end of the B section, the song returns to the A section.

Supplemental Learning Material

Member Comments about this Lesson

Neat song, but most frustrating lesson yet! The left hand isn't a problem, but I wish you'd explain the right-hand fingerpicking more! I can't figure out what you are doing, and the tabs are different than what you play. I wish there were tabks for what you are playing.

I love this song!!! Im not great on the bar chords. But listeners get the idea. It took me a bit to figure out the stumming on the 2nd part since it wasnt to clear. but I got it eventually took some extra time.

I've been playing a long time, probably longer than I should admit no better than I am, but this is certifiably one of the funnest (is that a word) songs I have ever played. Steve, I'm in Oklahoma now and I know all about those hotter than hot lazy summers. GREAT Song.

Probably the worst lesson so far. It would be nice if the lesson TAB was close to what you are playing. How about publishing an updated TAB. A little more on right hand technique would have been nice, too.

Steve, great lesson, but I wish you would have given more instructions on the right hand strumming techniques you use. I have watched the lesson a number of times and still have not figured it out yet.

Is there any way we can get some tablature of part A the way Steve plays it in this section? The way we learned part A in lesson 1 is NOT the way he is playing it here. It is VERY frustrating trying to figure out how he is playing it and then learning it. If we could get the correct tablature for part A the way it is played here (which sounds more intricate and better all around) it would help VERY much.
Thanks!

Hi Steve,
Although I just love playin' this instrumentally only, people keep on askin' me about the lyrics but I can't find them. You're so reliable and ? certifiable, please don't deny the lyrics. Where can I find them?
Ron

Steve! Great lesson. This song is so catchy. Let me know how I did on the tab. I know you have a recording of this, but I wanted to do it more like you played it in the lesson. Hope that works for you!

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About Steve EulbergView Full Biography
An Award-winning multi-instrumentalist and singer-songwriter, Steve Eulberg weaves mountain and hammered dulcimers with a variety of unusual instruments to create thought-provoking, smile-inducing, toe-tapping acoustic experiences.

He has sung and composed for religious communities, union halls, picket lines, inter-faith retreats, mountain-top youth camps, as well as the more familiar venues: clubs, coffeehouses, bookstores, festivals, charity benefits and showcase concerts.

Born and raised in the German-heritage town of Pemberville, Ohio, Steve was exposed to a variety of music in his home. Early piano lessons were followed by trumpet in school band, and he became self-taught on ukelele and guitar and harmonica. Mandolin was added at Capital University where, while majoring in History, he studied Ear Training, Voice and took Arranging lessons from the Conservatory of Music.

While at college, he first heard hammered and mountain dulcimers, building his first mountain dulcimer just before his final year. Seminary training took him the west side of Denver where he built his first hammered dulcimer. With these instruments, he was able to give voice to the Scottish, English and Irish traditions to which he is also heir.

Following marriage in 1985 to Connie Winter-Eulberg he settled in Kansas City, Missouri. There he worked cross-culturally in a church of African-Americans, Latinos and European Americans, with music being a primary organizing tool. He moved with his family in 1997 to be nestled beside the Rocky Mountains in Fort Coillins, Colorado.

Founder of Owl Mountain Music, Inc. he teaches and performs extensively in Colorado and Wyoming with tours across the US and the UK. He delights in introducing the â€œsweet musicâ€ of dulcimers to people in diverse settings and in addition to his own recordings, has included dulcimers in a variety of session work for other musicians.

In 2000 he was commissioned to create a choral composition featuring dulcimers for the Rainbow Chorus in Fort Collins. It was recorded in the same year (BEGINNINGS). He is currently at work on a commissioned symphony that will feature hammered dulcimer and Australian didjeridu.

Eulberg passionately believes that music crosses cultural and language barriers because music builds community. Influenced by a variety of ethnic styles, his music weaves vital lyric with rap, rock, folk, gospel and blues. Audiences of all ages respond well to his presentation and to his warm sense of humor.

Steve is a member of Local 1000 (AFM), The Folk Alliance, BMI and BWAAG (Better World Artists and Activist's Guild).

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